Writing a Chart, Pt 2. - Big Band Arranging SECRETS REVEALED

[@faads]

As a brazilian composer, arranger, theses classes are outsdanting and what I was looking for. Even better with "Girl from Ipanema".

[@garreyy2828]

"exactly what the jazz doctor order" I loved that lol

[@PandemoniumBigBand]

Ha! Keeping it loose

[@KrystofDreamJourney]

Greetings from Walt Disney World, Florida 🙂 great video series, BTW !! Bravo !!

[@brekedekdang39]

Thanks so much for sharing. I am going to write a big band chart now. I will let you know how it turns out!

[@PandemoniumBigBand]

Good luck! I am sure you will learn a lot along the way.

[@brekedekdang39]

​@@PandemoniumBigBand thanks for replying. I actually moved this past January and didn't get around to writing the chart. I am now back to work. When I get the chart done I may send it to you. 😀

[@thomasbryla]

Just discovered your channel and loving each bit - thank you! I do a lot of symphonic writing and have two Sibelius tips you might want to check out: 1) there is a plug-in called Exchange Staff Content. I can't remember if it comes with the app but it can be installed for free from the File menu under Plug-ins. 2) When I do block chords I also write the lead line first. Then I use the function Re-Input Pitches and simply play in each voicing with a MIDI-keyboard. Check for enharmonic spellings, do all the articulations and then copy the line out to the next player and Filter Top note (for deletion) and then - trust me on this - hit delete 3 times. This way I only write rhythms and articulations once.

[@PandemoniumBigBand]

That works too.

[@carsonowen4592]

This is such a great idea for a series. I can't wait to hear the final product, good job!!

[@PandemoniumBigBand]

Glad you like it! In part 3 I will (probably) finish writing the chart. Part 4 might cover writing rhythm section parts and formatting all of the parts. The final episode will be the reading session. Thanks for sticking with me!

[@jazzeux]

@@PandemoniumBigBand Wow! I can't wait for it. I agree with Carson Owen , you got a very nice idea. Thank you

[@brendaboykin3281]

Thanx, Maestro 🌹🌹🌹

[@MikeJamesMedia]

Great ideas and a fun presentation of it, Elliot! I grew up as a drummer, (and was also an arranger in the Air Force) and followed Buddy Rich closely. Doing that exposed me to a lot of Bill Holman's writing, and so this episode brings back fun memories for me. Thank you! (Yeah... AABA vs. ABBA. Ha!) The end of your video showed your consideration for the tenor player, and that reminded me of a moment that gives them no slack. (the tenor solo in Don Menza's "Time Check", which leads directly to a fast sax section soli) Thanks for the new playlist too!

[@PandemoniumBigBand]

Wow. What a history! Holman is one of my all-time favorites.

[@MikeJamesMedia]

@@PandemoniumBigBand I remember Buddy speaking about the Bill Holman chart, "Time Being", and describiing it as "11 minutes of pure terror". Ha!

[@ColinDean1]

Im excited to hear the band vs midi difference! I'm also curious on how you curate feedback from the band while also staying true to the OG vision of the chart.

[@PandemoniumBigBand]

I can’t wait to hear it with the real musicians either! Regarding the feedback… when I read my charts with my band, there is an understanding in the rehearsal room that we are all trying to realize my musical vision. And there is a ton of mutual respect between me and the musicians I play with. On the other hand, when I read my charts with other bands I am often given lots of unsolicited feedback. Sometimes it’s a helpful critique, but often it’s just players being insensitive. I’ve learned to be gracious and to shrug it off.

[@joaomenegalebarbi1586]

Dang I just hate how sibelius just doubles the volume when there is more than one instrument playing that voice. Changes between unisson and voiced lines sound like a slap on the face. Thank you a lot for this video, it\s fantastic!

[@PandemoniumBigBand]

Agreed! I know that playback is really just for finding mistakes, but I wish it sounded a bit more in balance.

[@AshleyKampta2]

@@PandemoniumBigBand Have you tried NotePerformer? I use it and it makes things sound much more balanced than with the stock sounds. Although it's not perfect, it's at least a step in the right direction!

[@PandemoniumBigBand]

@@AshleyKampta2 I have tried it and it’s not for me. The sounds are more realistic, but its interpretation is way off for jazz ensemble phrasing. It is easier for me to “listen through” the stock sounds than to deal with Note Performer.

[@AshleyKampta2]

@@PandemoniumBigBand That's understandable, as NotePerformer was primarily built for orchestral music and was fashioned using pieces and practices common in Mozart and Beethoven's time. How did you learn to 'listen through' sounds that don't sound like what they should sound like? Is it just experience or can you train yourself to do these things?

[@sergaevr]

Wow, cool! I really want to know more about electro swing arrangement

[@barryo5158]

Really good! Thank you.

[@richardwilliamsmusic]

I'll check out Atom Smith, and I would love to learn more about electro swing!

[@PandemoniumBigBand]

I hope you dig it!

[@NCbluesman]

Man, this is such awesome stuff. THANK YOU, Elliot!

[@PandemoniumBigBand]

You are very welcome.

[@monsterjazzlicks]

Have subbed!

[@charlieparsons1220]

Would certainly be nice if you could do an arrangement for little big band minus guitar.

[@ZehNettoOficial]

Extra cool!

[@tooter1able]

Love the ABBA bit. HAHA-AHHA! Ever use interludes? Thanks much

[@PandemoniumBigBand]

Watch part 3!

[@filiphauangundersen3228]

How would you write for a saxophone section with Soprano, Alto, Tenor, Bari and BASS sax? Or an alto, alto, tenor, bari and bass sax? You have great videos BTW💪🎺🎷

[@PandemoniumBigBand]

That’s tricky! I’ve never had an ensemble with a bass saxophonist, so I don’t have any direct experience. But my instinct is to use spread voicings (drop 2, drop 2 drop 4, etc) on almost everything. Soprano is so far away from bass that you will need the voicing spread out just to put each instrument in a comfortable range.

[@filiphauangundersen3228]

@@PandemoniumBigBand thanks, I will try! The big band i play in have a 1st tenor player that double on bass sax🎷💪 What I have written so far is best with octave and unis or bass sax independently with Basstrombone and/or bass guitar.

[@richardwilliamsmusic]

lol, nice drop 2 shortcut!

[@PandemoniumBigBand]

I can’t believe I just now figured that out!

[@frenchmusictheorist]

did you try Noteperfomer for the playback? It would definitely improve the quality. Great explanations btw.

[@PandemoniumBigBand]

Yes I have tried Note Performer. It doesn’t work well for jazz scores.

[@frenchmusictheorist]

@@PandemoniumBigBand thanks for the information. I wasn't aware about it.

[@chrisfrostmusic]

Doing a video on electro swing sounds great as I have never even heard of that term. You also often refer to 2D writing. Is this essentially a shout chorus or there is geenral homophony and no polyphony? Keep up the good work!

[@PandemoniumBigBand]

I am saying tutti (not 2D). That means “everyone together”. Electro Swing is a EDM sub genre that is really popular in the UK. I am pretty new to it as well.

[@chrisfrostmusic]

@@PandemoniumBigBand Oh sorry Elliot. How embarrassing; it's the American accent. It makes total sense now. I would probably soudn like some kind of posh UK toff if you heard me say tutti. Will check out the Electro Swing stuff. Thanks.

[@MelodeusForever]

Good day... the best part of your videos... "That's Dumb....." lol

[@PandemoniumBigBand]

Thank you! Can’t take myself too seriously

[@dishwasherdetergent3366]

hello elliot. I have a question: how do you go about writing for guitar? do you just write chords with slashes and leave it up to the guitarist? obviously you write chords with slashes but how much freedom do you give them? do you include loose directions on what they should be playing? do you have the guitar double melody lines, and if so, when and how often? I have many questions.

[@PandemoniumBigBand]

That is a good and deep question. I’ll probably make a video about how I use guitar in my jazz writing eventually. But for now: mostly chords and slashed, and a couple of words describing what type of pattern you want them to play, “strumming,” “sparse and groovy,” “just comp.” I will give the guitarist lines (often with unison saxophones), but only on more modern arrangements, where I want that timbre.

[@good.citizen]

thank you you "learned" me horn groups range good luck this year capitol studios reduced their orchestral size from groups of forty five to groups of fifteen per room 2020

[@PandemoniumBigBand]

You are welcome!

[@myaltaccount5046]

What's "The lick"?

[@PandemoniumBigBand]

kzbin.info/www/bejne/oaOnqZuklrB3bbM

[@RobertToddJr]

lol, ABBA

[@PandemoniumBigBand]

Yes!!! Good, old-fashioned jazz-form humor!

[@onscuba1]

Ages ago I wrote an arrangement of "Higher Ground" for my amateur Big Band. Someone told me I had to apply for permission. After much searching I eventually paid a small fortune to a company (and way more than if I had bought a professionally written arrangement!) I was never intending selling it (obviously!) or recording it (obviously!). So where do we stand in the copyright minefield. My arrangement is here: musescore.com/user/58522/scores/4878941?share=copy_link complete with the ton of stuff I was made to put on every part of the score

[@PandemoniumBigBand]

My understanding is you only have to pay if you are going to be recording it. I definitely risk getting my video demonetized but including playback… but I guess that’s a risk I am ok with. I decided that arranging a standard would make for a better demo than writing a wholly original piece.

[@onscuba1]

Well if you think it's ok, then it almost certainly is. I won't make that mistake again! Along with everyone else here, I'm really enjoying your explanations.